New fashion trends spread from the supreme French court and courtiers. As spokesmen for French luxury, courtiers and courtiers spread French products and styles. Furetiere, in Dictionnaire Universel, explained that fashion "refers in particular to the manner of dressing accepted by the court." The economics of appearance is one of the most important concerns of courtiers. In the 1630s, lace made of linen, silk, and gold and silver became an outward sign of wealth, appearing on cuffs or headdresses. In addition, both men and women wore fake moles. These filamentes attached to the face have different meanings, depending on their location. The desire to whiten is realized and emphasized by cosmetics. Luxurious court clothes with long, floor-length hemlines were popular in Europe. Due to increased competition from Versailles and the blurring of the lines between the upper bourgeoisie and the aristocracy, the elite scrambled to invest in rare pieces of clothing. Fashion is at the center of a system of representations that either makes courtiers models or makes them pale imitators. The king getting out of bed, walking in the garden or even playing games were all moments to expose his body, show off and show off himself. Traditional history credits Frederic Worth, an English fashion designer who settled in Paris in the second half of the 19th century, as the founder of the fashion show. However, the time that court life left for dressing up was indeed planned and arranged in advance. Court officials dressed themselves in the most fashionable clothes. It was a competition of values. Trends are made and lost at the court, and the whole of Europe watches the court fashion show.

At the center of the power struggle, as the Renaissance continued, fashion became more and more extreme as a "thoroughly social phenomenon," according to Marcel Mauss's concept.

Political body. - Medical body

Inspired by the Baroque movement characterized by decoration, curves, and straight lines, the shapes of clothing were exaggerated and the styles of appearance became complicated. The magnificence of clothing reshaped the female and male bodies to such an extent that it turned the body into a true "building." Against the backdrop of growing interest in hygiene and wellness, the body has also become an object of concern for doctors. Modern society is characterized by the optimization of production, especially the systematic use of scientific methods. Engineers, scientists, and doctors are all fighting for a voice, trying to distinguish themselves from technicians, who are considered inherently inferior due to their manual labor. Clothing became the subject of debate. Medical professionals have their own opinions about the advantages, disadvantages, and even how dangerous clothing is. Finally, the doctor will advise the patient on what to wear.

Wool fabrics are criticized by many people, especially those who live in tropical regions. In the 17th and 18th centuries, doctors emphasized the difficulty of cleaning the fabric. The fabric is a breeding ground for disease-spreading fleas and lice. Wrapping babies in wool for too long is one of the causes of infant death. Cotton would seem to be a healthier fabric, better suited for hot climates because it's easier to clean, less irritating to the skin, and keeps the body cool. People exposed to drafts can develop many diseases - encephalitis, pharyngitis and rheumatism. Therefore, in order to avoid this situation, it is necessary for people to wrap themselves up in an exaggerated way even in hot weather. Some tulle that is less protective are called "pneumonia shirts". In the 17th century, corsets had not yet attracted the attention of doctors and had not yet been accused of being the "chief culprit" of physical deformities.

From the reign of Louis XIII, writers who were for or against fashion responded to each other as polemicists. Appearances became the focus of discussion among the literati, who published pamphlets that, like treatises, criticized or praised the changes in social mores of the time. Critics have joined the chorus of voices questioning the court system, but their arguments can sound ambiguous. In fact, French fashion is considered superior to other countries, and French is more elegant than English. The offensive content mainly deals with the rapid development of fashion, the constant changes and the ephemeral nature. French is described as "chameleon". The centuries-old debate has concerned how to curb the eager behavior of the bourgeoisie, which has been trying to present a face of itself that has not yet been realized. These pamphlets denounced extravagance, the feminization of men, and the cunning and cunning that distorted the individual. John Bulwer, the pioneering English physician and Baconian philosopher, adopted an anthropological rather than moral perspective in his book Anthropometamorphosis, published in 1650. Bulwer is an explorer of the human body and human communication, denouncing the uncomfortable and abnormal novelties. In particular, he pointed out that slits in sleeves or trousers were a barbaric practice. He argued that the popular trend of the early 17th century to wear a lot of sash, especially at the pubic bone, was indecent and primitive because it emphasized sexuality. In Bulwer's view, the fashion hidden behind advanced civilization will eventually lead to the historical regression of human customs.

Mass clothing may not be affected by jewelry trends, but anyone who can afford to do so is willing to sacrifice some of their wealth. The wide skirt at the bottom is the foundation of the entire female clothing structure. The corset becomes narrower and narrower, tightly gripping the upper body and making the silhouette of the woman appear stiff, which creates an image that distinguishes it from others. The opposite is true for men: the chest is wider than the lower body, and the male image is considered to conform to the image of the gods. Whether it's clothing materials or the physical transformations they bring about, medical discourse tends to "prescribe" or moralize them.

For Louis XIV, clothing was a political tool, and he suppressed courtiers at Versailles by severely restricting their clothing. In England, the antagonism between the king's supporters and Puritan factions was evident in the 17th century. The reformation ideals of the Church of England inspired the Puritans, and as can be seen from their dress, the style of clothing was simpler and even more moral. The civil war that resulted from this political confrontation, as well as the defeat and execution of Charles I (1649), replaced the monarchy of 18 years with a republic. An inventory of Charles I's possessions and portraits after his death show that the Puritans, the so-called roundheads, wore simple lines of clothing with minimal decoration, and preferred solid, dark colors. The wealth of people is reflected in the quality of the fabric. With the restoration of the English monarchy, Charles II, who had just returned from the French court under the protection of Louis XIV, used clothing to counter the Puritan influence. Following the French style, he wore a jacket with embroidery and lace, which has since become an indispensable decoration for men's wear. A precursor to the 19th-century men's suit, 17th-century menswear consisted of a three-piece suit: a breeches that reached to the knee, a long button-up jacket that covered below the knee, and a vest of the same length over a shirt.

The Puritans were not the only group to object to excessive luxury clothing in the 17th century. Conservative Spanish society also tends to resist innovations in clothing. By about 1600, the pestle had disappeared elsewhere in Europe, and the Spanish continued to use it until the mid-17th century. In addition to this, the Spanish corset extends all the way below the waist and covers the upper part of the skirt. Women's clothing makes the body an "architecture" whose spirit is reminiscent of the cosmic order of the Spanish altar of the Great Century. Similarly, the lapel has played a role in straightening the male body for a long time, which brings dignity and distinction. However, a body without a touch of hair is not perfect. The wig made the body embellished by the costume extremely delicate. It was not until the 18th century that the Iberian Peninsula adopted European fashion.

Louis XIV costume

Head decoration: an indicator of the great development of body care

The development of body care is expressed in the wearing of wigs, which is a true head decoration but also a symbol of conflict between different professional acts.

In the 16th century, near Milan, the hat industry flourished with the production of ribbons, gloves and straw hats, and was reorganized in the 17th century. In the last quarter of the 17th century, the work of designing and selling hats and headwear for women was undertaken by a special class of seamstresses (modiste). In paintings of court ladies during the reign of Charles II, we see a thick cloth hat worn in winter and summer to protect it from the sun. The pastoral style did not reach its peak until the 18th century, as shown by Elisabeth Vigee Le Brun's portrait of Marie Antoinette. Italy, and Livorno in particular, was famous for a very delicate straw hat until France under Louis XIV was recognized politically and artistically. By 1680, the structure of the hat had become increasingly complex, becoming a multi-layered complex made of wire, lace, ribbon, and velvet. These head decorations are molded in the form of architectural supports. In the 17th century, people used soldering irons and curling paper to curl their hair, which was covered with a layer of steel wire, pins, artificial flowers and paper clay, and made of human hair curls. Cartoonists were ecstatic, depicting wigged silhouettes as poodles and critiquing Louis XIV's court. Moralists condemn the vanity and ostentation of this fashion, which is regarded as evil. The famous Treatise of Abbe Thiel, published in 1690, condemned overly elaborate male hairstyles. While the paper is critical of both consumers and authoritarianism, it can also be read as evidence of a thriving appearance economy. The importance of wigs was so strong that, a century later, Estienne Robert likened women's hairdressers to "chief dressers."

In 1654, Louis XIV instituted 40 levy fees for shavers and wig makers, so as to deposit money into the Treasury, and ordered them to accompany him on court trips. Twelve years later, the Shaver-Wig Guild of 200 technicians was formed. Steam bath operators have since joined the group. Since then, a professional identity has developed as a physical therapist; Guild membership increased from 610 in 1700 to 900 in 1780. In the 17th century, it was one of the wealthiest guilds in Paris. Shaver-wig maker is one of the top jobs. Buying this professional status was particularly expensive, as in 1722 it could have cost as much as £6,500. The prestige of this professional activity and the profits it brought led to a confrontation between shaver-wig makers and hairdressers, the latter being a relatively late profession, the term hairdresser not appearing until 1650. A 1769 complaint by the Paris Association of Women's Hairdressers revealed the source of a conflict that had begun a century earlier. The hairdressers' association accused hairdressers of cutting women's hair. The fundamental issue is the division of work in the hair industry between women's hair and men's hair. Hairdressers believe that shavers-wigs can cut and shave men, but they don't have the skills to cut women's hair. This, however, is the difference between the two professions. Shaver-wig makers practice with wooden heads, and the technique is mechanical; The hairdresser's technique is seen as based on free art. Hairdressers have talent and taste, while hairdressers only make and sell wigs and curls. It can be seen that the commercialization of services is a manifestation of professional inferiority. Finally, the judge gave hairdressers the right to cut women's hair. There is no doubt that the court ruling only confirmed a practice, and hairdressers quickly became popular with women. In 1663, a comedy called The Hairdresser's Champagne was staged at the Theatre Marais in Paris, satirizing one of the first known hairdressers. In the play, the celebrity hairdresser known as "Famous Champagne" uses his "talent, skill, or social ability" on the ladies and turns them into "fairies."

Hairdressing is only one part of physical care. Every detail matters more than ever, especially when the lower classes are also trying to get their hands on a bottle of lotion or an accessory.

Man in a wig, France, 1690

The extreme sophistication of the elite

Perfumes, cosmetics, accessories and footwear inspire desire and are becoming increasingly important. In the context of the widespread use of replicas of items belonging to the upper classes, fashion is more than ever necessary to highlight differences.

For centuries, the city of Grasse was the main source of incense for tanners and glove makers. Perfume makers are particularly fond of lavender, jasmine and tuberose, which grow on sunny hillsides. The promotion of perfume owes much to the French royal family. In the 18th century, fragrance was ubiquitous and indispensable. They are sprayed on the body and on handkerchiefs. Some artisans even specialize in aromatic jewelry. Royal perfumes are made by the royal family's jewelers and perfume makers, who respond quickly to any wayward demand. Rings, earrings, scented belts and bracelets are considered indispensable items for adult men, women and children of the affluent class.

However, body care has also attracted interest from less affluent groups. They take inspiration from household manuals, cookbooks and recipes passed down through the generations to make cosmetics at home. The production of cosmetics must be controlled by women. Creams and lotions show the close connection between beauty and medicine. Skin care products made from wild plant roots and wildflowers mixed with water, beer, vinegar and spices can whiten the face, improve the skin tone and eliminate the scars of smallpox. The manufacture of cosmetics is largely inspired by Galien's humoral theory, and cosmetics are one of the important products for maintaining health and beauty. The belief in the power of natural cycles and astrology also applies to beauty products, with some formulations using May dew or the SAP from the head of spring plants. After the colonists took over the plants of the New World, there were some changes in the formulation of beauty products. Traditional wax, lard and walnut oil are added to the bloodroot of Canada to modulate a beautiful red color. The boom in nursing esoteric publications continued in the 17th century.